Sound of Lollywood: When ghazal king Ghulam Ali gave over his glorious voice to a love song

Sound of Lollywood: When ghazal king Ghulam Ali gave over his glorious voice to a love song

Bigri Naslein (Generations Rotten) was published in 1983 with a heavy cast directed by Mohammad Ali and Rani. Received a Silver Jubilee status.

Wadah Tum Karo (Promise Me), a song from the soundtrack, is one of the Pakistani movie songs that are like a ball that fell from the Christmas tree and rolled under the sofa. He had hidden himself, completely disconnected from his source and his reason for being. But when it takes a long time after Christmas Day, you will discover a little foundation and shine under the dust.

This is a nice song and the closest thing to real chewing gum I had heard in the music of the Pakistani movie. In this cheesy love song full of heartfelt confessions and urgent requests, fans dig under the blue evening sky and birds chirp in the branches. All the while, an atmosphere of intoxicating sound turns around. You can almost see unicorns and rainbows in the distant PRAI.

The song is the creation of Kemal Ahmed, a Bengali who took advantage of the rich popular culture of his country and chose a soft and sweet approach to musical composition. An approach focused on melody and texture in the lively rhythm and percussion espoused by colleagues like Punjabi Nazir Ali who also contributed to Bigri Naslein.

Ahmed creates a six-minute world in which love is spoken of soft melodies, guitars torn gently and the sound of Santoor sandy scales down like a waterfall splashing on a mountainside. In this perfect little world Teenage love Ahmed injects a layered female choir resembling a band of medium angels of anger. The voice wrapped the entire room with its non-syllabic song, but also turn several times to the brink of approval of raw and crushed tears. At first it was a bit disconcerting, but in fact, this is the perfect antidote for the making of such saccharin.

None of this is unusual or unique. South Asian music directors of the Golden Age were best creative geniuses, mastery of various musical languages and supported by talented musicians who could play any number of Eastern and Western instruments. What makes Tum Wadah Karo a truly remarkable piece of hype is the singer.

Less than 40 seconds into the song, the first two letter syllables and dh – emerge from the background, whole, complete and polished. As if they had always existed from and to the vortex of the sky. There is something familiar in that voice from the other world, but we try to determine it.
It is only the first stanza, sung in a slightly lower register, the coin falls: it is nothing less than the great teacher Ghulam Ali Ghazal.

Ali, who has been rigorously trained in classical music by some of the luminaries of the tradition, has spent his entire career with the interpretation of the Ghazal. Unlike most of his companions, including possibly the best Ghazal singer of the last 50 years, Mehdi Hassan, who recorded hundreds of movie songs, Ghulam Ali film production is relatively minor. In fact, his most beloved theme, Chupke Chupke Raat Din appeared in the Nikaah Indian film (1982).

To listen to Ali in a Pakistani movie, singing a special piece of the film is similar to finding a small diamond in the bottom of biryani. Although the lyrics are intimate, Ali becomes a decent performer.